Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
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A kids’ movie without the cheeky jokes for adults is like a big juicy BLT without the B… or the T. Madagascar 3: Europe’s Most Wanted may have a title that sounds like it was made up in a cartoon sequel laboratory but when it comes to serving up laughs just think of the film as a BLT with enough extra bacon to satisfy even the wildest of animals — or even a parent with a gaggle of tots in tow. Yes even with that whole "Afro Circus" nonsense.
It’s not often that we find exhaustively franchised films like the Madagascar set that still work after almost seven years. Despite being spun off into TV shows and Christmas specials in addition to its big screen adventures the series has not only maintained its momentum it has maintained the part we were pleasantly surprised by the first time around: great jokes.
In this third installment of the series – the trilogy-maker if you will – directing duo Eric Darnell and Tom McGrath add Conrad Vernon (director Monsters Vs. Aliens) to the helm as our trusty gang swings back into action. Alex the lion (Ben Stiller) Marty the zebra (Chris Rock) Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stuck in Africa after the hullaballoo of Madagascar 2 and they’ll do anything to get back to their beloved New York. Just a hop skip and a jump away in Monte Carlo the penguins are doing their usual greedy schtick but the zoo animals catch up with them just in time to catch the eye of the sinister animal control stickler Captain Dubois (Frances McDormand). And just like that the practically super human captain is chasing them through Monte Carlo and the rest of Europe in hopes of planting Alex’s perfectly coifed lion head on her wall of prized animals.
Luckily for pint-sized viewers Dubois’ terrifying presence is balanced out by her sheer inhuman strength uncanny guiles and Stretch Armstrong flexibility (ah the wonder of cartoons) as well as Alex’s escape plan: the New Yorkers run away with the European circus. While Dubois’ terrifying Doberman-like presence looms over the entire film a sense of levity (which is a word the kiddies might learn from Stiller’s eloquent lion) comes from the plan for salvation in which the circus animals and the zoo animals band together to revamp the circus and catch the eye of a big-time American agent. Sure the pacing throughout the first act is practically nonexistent running like a stampede through the jungle but by the time we're palling around under the big top the film finds its footing.
The visual splendor of the film (and man is there a champion size serving of it) the magnificent danger and suspense is enhanced to great effect by the addition of 3D technology – and not once is there a gratuitous beverage or desperate Crocodile Dundee knife waved in our faces to prove its worth. The caveat is that the soundtrack employs a certain infectious Katy Perry ditty at the height of the 3D spectacular so parents get ready to hear that on repeat until the leaves turn yellow.
But visual delights and adventurous zoo animals aside Madagascar 3’s real strength is in its script. With the addition of Noah Baumbach (Greenberg The Squid and the Whale) to the screenwriting team the script is infused with a heightened level of almost sarcastic gravitas – a welcome addition to the characteristically adult-friendly reference-heavy humor of the other Madagascar films. To bring the script to life Paramount enlisted three more than able actors: Vitaly the Siberian tiger (Bryan Cranston) Gia the Leopard (Jessica Chastain) and Stefano the Italian Sealion (Martin Short). With all three actors draped in European accents it might take viewers a minute to realize that the cantankerous tiger is one and the same as the man who plays an Albuquerque drug lord on Breaking Bad but that makes it that much sweeter to hear him utter slant-curse words like “Bolshevik” with his usual gusto.
Between the laughs the terror of McDormand’s Captain Dubois and the breathtaking virtual European tour the Zoosters’ accidental vacation is one worth taking. Madagascar 3 is by no means an insta-classic but it’s a perfectly suited for your Summer-at-the-movies oasis.

British actor Christian Bale fought back tears during an emotional tribute to his late co-star Heath Ledger at the MTV Movie Awards on Sunday (03Jun12).
The star took to the stage at the Los Angeles ceremony along with his Batman co-stars Gary Oldman and Joseph Gordon-Levitt to present footage from their upcoming blockbuster The Dark Knight Rises.
They also showed scenes from the second film in the series, The Dark Knight, featuring Ledger, and Bale struggled to contain his emotions as he watched the late actor on the screen.
Bale's eyes glistened with tears as he said, "Wow, great to remember Heath at that moment. Wonderful to see Heath Ledger there," prompting applause from the audience. He took a moment of silence and lowered his head before handing over to Gordon-Levitt to introduce their director Christopher Nolan.
Ledger died in 2008 from a prescription drug overdose just months before The Dark Knight hit cinemas.

"What do you know about him?"
"You should as afraid of him as I am."
Cue: menacing shot of bad guy Bane.
There's been no shortage of footage from the upcoming The Dark Knight Rises in the past few weeks, but that doesn't mean the whole movie has been laid out. Far from it. Every passing trailer and TV spot for the latest installment of Christopher Nolan's Batman franchise has been about mood, a sense of dread that builds in anticipation of a hero confronting his ultimate adversary. For Bruce Wayne in The Dark Knight Rises, that opponent is the muscled hellbeast Bane, a muffled terrorist who strikes fear into the hearts of those who cross his path — even a crafty criminal like Catwoman.
In a new clip that played exclusively on Sunday night's MTV Movie Awards, Bane's full power is on display, from large scale attacks to raw, powerhouse beatings. In the epic montage, Catwoman (Anne Hathaway) tells cop John Blake (Joseph Gordon-Levitt) that she may be on the run, but the police aren't exactly her biggest threat. The footage cuts to Bane (Tom Hardy) in his underground lair, where Catwoman says, "Don't be shy." Oh, he won't be. From there, it's a mishmash of shots from the film: an exploding stock trading floor, a pile of beat-up old cars, pillars of smoking rising from Gotham City, an exploding bridge, Batman swooping into action with his Batplane and, eventually, Bats and Bane duking it out.
Who knows what the heck it all means. As much of the movie that we've seen in released, action-filled sequences, there's plenty still shrouded in secrecy. We've seen little of Marion Cotillard's Miranda Tate (who may be more than meets the eye), none of Josh Pence's Young Ra's Al Ghul, none of Juno Temple's Holly Robinson. How do all these characters fit into the grand scheme of things? Don't expect too many hints — there has to be a reason to see the movie in theaters, after all.
The MTV Movie Awards footage isn't available online, but keep your eyes pealed on this page for updates. The Dark Knight Rises crescendos on July 20.
Follow Matt Patches on Twitter @misterpatches
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[Photo Credit: Warner Bros. Pictures ]

A decade-long gap between sequels could leave a franchise stale but in the case of Men in Black 3 it's the launch pad for an unexpectedly great blockbuster. The kooky antics of Agent J (Will Smith) and Agent K (Tommy Lee Jones) don't stray far from their 1997 and 2002 adventures but without a bombardment of follow-ups to keep the series in mind the wonderfully weird sensibilities of Men in Black feel fresh Smith's natural charisma once again on full display. Barry Sonnenfeld returns for the threequel another space alien romp with a time travel twist — which turns out to be Pandora's Box for the director's deranged imagination.
As time passed in the real world so did it for the timeline in the world of Men in Black. Picking up ten years after MIB 2 J and K are continuing to protect the Earth from alien threats and enforce the law on those who live incognito. While dealing with their own personal issues — K is at his all-time crabbiest for seemingly no reason — the suited duo encounter an old enemy Boris the Animal (Jemaine Clement) a prickly assassin seeking revenge on K who blew his arm off back in the '60s. Their street fight is more of a warning; Boris' real plan is to head back in time to save his arm and kill off K. He's successful prompting J to take his own leap through the time-space continuum — and team up with a younger K (Josh Brolin) to put an end to Boris plans for world domination.
Men in Black 3 is the Will Smith show. Splitting his time between the brick personalities of Jones and Brolin's K Smith struts his stuff with all the fast-talking comedic style that made him a star in yesteryears. In present day he's still the laid back normal guy in a world of oddities — J raises an eyebrow as new head honcho O (Emma Thompson) delivers a eulogy in a screeching alien tongue but coming up with real world explanations for flying saucer crashes comes a little easier. But back in 1969 he's an even bigger fish out water. Surprisingly director Barry Sonnenfeld and writer Etan Cohen dabble in the inherent issues that would spring up if a black gentlemen decked out in a slick suit paraded around New York in the late '60s. A star of Smith's caliber may stray away from that type of racy humor but the hook of Men in Black 3 is the actor's readiness for anything. He turns J's jokey anachronisms into genuine laughs and doesn't mind letting the special effect artists stretch him into an unrecognizable Twizzler for the movie's epic time jump sequence.
Unlike other summer blockbusters Men in Black 3 is light on the action Sonnenfeld utilizing his effects budget and dazzling creature work (by the legendary Rick Baker) to push the comedy forward. J's fight with an oversized extraterrestrial fish won't keep you on the edge of your seat but his slapstick escape and the marine animal's eventual demise are genuinely amusing. Sonnenfeld carries over the twisted sensibilities he displayed in small screen work like Pushing Daisies favoring bizarre banter and elaborating on the kookiness of the alien underworld than battle scenes. MIB3's chase scene is passable but the movie in its prime when Smith is sparring with Brolin and newcomer Michael Stuhlbarg who steals the show as a being capable of seeing the future. His twitchy character keeps Smith and the audience on their toes.
Men in Black 3 digs up nostalgia I wasn't aware I had. Smith's the golden boy of summer and even with modern ingenuity keeping it fresh — Sonnenfeld uses the mandatory 3D to full and fun effect — there's an element to the film that feels plucked from another era. The movie is economical and slight with plenty of lapses in logic that will provoke head scratching on the walk out of the theater but it's also perfectly executed. After ten years of cinematic neutralizing the folks behind Men in Black haven't forgotten what made the first movie work so well. After al these years Smith continues to make the goofy plot wild spectacle and crazed alien antics look good.
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Gary Oldman: Professional Best Friend of Superheroes. The cinematic chameleon has mastered the art of vigilante confidantry with his role as Commissioner James Gordon in Christopher Nolan's Batman series, and will find himself standing beside another do-gooder in a developing project — Oldman is signing on to join RoboCop.
Oldman will reportedly play a character called Norton, who works for the corporation that "creates" the title hero from the body of injured police officer Alex Murphy, who will be played by Joel Kinnaman. Norton will represent the dwindling humanity in the corporation, as he faces a struggle of conscience in turning Murphy from a man into a soulless robot. But hey, business is business.
The Oscar-nominated Oldman will conclude his turn as Gordon in The Dark Knight Rises on July 20. But clearly, he's not done helping masked men maintain order. The inclusion of Oldman in José Padilha's RoboCop remake boasts some class for a picture that, up until this point, could really have gone either way. Knowing that he's on board affords a little more optimism to the developing picture.
[Photo Credit: Daily Celeb/David Edwards]
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[THR]

There's probably still someone somewhere that would fall for one of Sacha Baron Cohen's weird and wooly scenarios but let's face the facts: the days when Ali G. could snag an interview with Pat Buchanan or Gore Vidal are long gone. 2009's Bruno definitely let some steam out of Borat's tires not to mention the ensuing lawsuits. But it's refreshing to see Cohen and his Borat/Bruno cohort director Larry Charles flex their muscles in the fictional universe of The Dictator a vehicle that doesn't skimp on their signature cringe-worthy humor.
The world of The Dictator gives them the leeway to create crazy spectacles — at one point Cohen's General Aladeen rides down Fifth Avenue on a camel surrounded by a giant motorcade. Having a plot helps too; although part of the genius of Sacha Baron Cohen's schtick is how the viewer is made culpable by proxy by our amusement and horror at how he tricks and torments people who aren't in on the joke The Dictator continues the self-reflexive satirical bite. We're certainly not off the hook. Aladeen says and does truly outrageous things but they're also exaggerations of the world we live in. It might be a stretch to call Sacha Baron Cohen the British Lenny Bruce or George Carlin in a face merkin but rest assured that no topic is off limits. If you are offended by jokes about abortion rape feminists body hair race religion politics STDs war crimes ethnic cleansing necrophilia and/or bestiality don't even bother. However if you like the kind of comedy that makes you hide your face in your hands feeling like each laugh is being pried from you against your will you're in business.
Cohen eats up the screen as both General Aladeen and his incredibly dumb body double; the latter prefers the intimate company of one of his goats to a human while the former is a fairly stupid ruthless dictator whose own people are so disloyal to him that they actually ignore his commands to execute people. (He really likes to execute people.) When he arrives in New York City to attend a summit at the UN his uncle Tamir (Ben Kingsley) has the two switched so he can easily manipulate the "General" into signing a treaty to make Wadiya a democracy and reap the financial benefits. Aladeen finds refuge with Zoe a hairy-pitted activist who thinks he's a political dissident and is excited to be able to give him a safe haven in her touchy-feely Brooklyn grocery co-op. Instead of being typecast as another blonde dummy Anna Faris is finally given room to play as the wide-eyed naïf who takes Aladeen's very serious statements as jokes or simple miscommunications. She's a great foil to Baron Cohen who is easily half a foot taller than she is and has a wolfish grin. Their banter is often the most politically incorrect of the bunch but also the funniest.
Alas the plot. It's a bare bones situation to get a very broad character from A to B. Aladeen is obviously an outlandish mishmash of modern dictators; he spouts racist misogynist rhetoric endlessly and after a while...yeah we get it. However like all of Sacha Baron Cohen's humor The Dictator also takes a direct shot at Western countries (specifically the United States) which would be all fine and dandy if he didn't wedge an expository speech in about it as well. The problem with making a traditional narrative movie is that with some exceptions you've got to play within the guidelines. The Dictator isn't trying to do anything fancy; all it needs a few big beats and a neat ending to wrap it all up. It doesn't quite manage to tie it all together in a way that makes The Dictator more than an hour and a half or so of laughing and cringing.
Besides Faris and Kingsley there are a number of cameos by a very wide variety of comics and actors. Megan Fox plays herself Kevin Corrigan appears as a creepy dude who works at the co-op John C. Reilly is a racist security guard and Fred Armisen runs an anti-Aladeen café in New York's Little Wadiya district. The very funny Jason Mantzoukas has a large role as Nadal the former head of rocket science who was supposedly executed for not making Aladeen's nuclear warhead pointy. It's a good ensemble and hopefully Sacha Baron Cohen's next feature-length film will build on The Dictator's weaknesses.

Expectations are high and speculation is rabid about The Dark Knight Rises, the super-double secret final installment of Christopher Nolan's Batman trilogy. Since everyone seems to be guessing just what the heck this thing is about, I decided that I was going to take a stab and decode the clues that Nolan has been laying out for us. Here is my theory that, I assure you, is 100 percent accurate. (No, it is not.) Be careful, there are (completely fake, manufactured) spoilers ahead.
I started based on the assumption that the third trailer for the movie, which was released last night, is a condensed version of the movie in chronilogical order rather than a random collection of highlights. If this is the case, we are able to sketch a loose plot from the action in this preview. Here is my completely verified, totally correct (no, sorry, this is complete bulls**t) assessment of the plot of Dark Knight Rises.
We open on Gotham, which is glittering and functional, though about to be plunged into darkness. Bruce Wayne has retired from being Batman, or he was fired. One or the other. We can tell because he has one of those "funemployement" beards that your friends were all wearing when they got booted from their jobs at mortgage brokerages a few years ago. Also because Wilfred is waiting on him in their mansion. Anne Hathaway, who we know is playing Selina Kyle/Catwoman, tells us that a storm is coming. She is walking backstage at some sort of convention for milliners, but really she is telling Bruce Wayne about the storm at some sort of fancy masked ball they are both attending. Bruce is wearing a Christian Bale mask.
Somewhere green and rural, Bane, the mumble-mouthed villain and scuba-gear addict played by Tom Hardy, is being transported somewhere secret via plane. Catwoman's plane, however, hijacks the Bane plane, rips its wings off and rescues Bane from captivity. Now Bane is working for Catwoman and, as he says, "Hasdpwigaweihoghfaospidhgaspo," which translates to "I am Gotham's reckoning." He is going to destroy Gotham and punish all the rich people like Bruce Wayne because he is poor. He starts by blowing up a football field, because Tom Hardy is European and he always liked soccer (or football) better anyway. He also storms Bruce Wayne's house and his troops find Wayne cowering under an etagere (which is a fancy name for a bookcase).
Then we see Joseph Gordon-Levitt. After a brief swoon, JGL, who appears to be some sort of bus driver, watches the bridges that connect Gotham (read: Manhattan) to the outer boroughs (read: Brooklyn) explode. Everyone in Brooklyn freaks the freak out. Everyone in Manhattan is like, "Eh. Oh well. I'll just get my artisinal pickles from the Lower East Side instead." However, a bus full of angelic-looking children are forever scarred watching the scene of destruction.
Bruce Wayne is dragged out into the middle of nowhere and thrown down a well because, you know, that's what you do with billionaire playboys with crappy unemployment facial hair. In an office in Midtown JGL, who may not be a bus driver after all, interrogates Catwoman about whether or not Wayne is dead. She does not know. She is pissed that freeing Bane has become a nightmare. He has gone rogue and she can't control him anymore.
Bruce asks Bane why the baddie didn't kill him. He says, "Shioawawhfeoighwpeoighwpoirg." Bruce is like, "I'm sorry, I didn't catch that." Bane says, a bit louder this time, "Shioawawhfeoighwpeoighwpoirg!" Bruce says, "Nope, still don't get it. One more time." Bane gets pissed and just throws Bruce to the bottom of the well. He walks away and lets a waterfall wash Bruce away.
Meanwhile, JGL is talking to one of the kids on his bus who asks if Batman is coming back. JGL doesn't know. Catwoman, now remorseful, finds Wayne at the bottom of the well. Meanwhile, Bane and his gang of economic malcontents are taking over a bank or something. Catwoman is afraid, is very very afraid, and she gets on her fierce motorcycle and rides as far away as she can get. Bane finds a really cute shearling coat. That scuba equipment must be cold.
Commissioner Gordon calls on Batman to stop Bane. The Bat Signal has been destroyed so he just uses a flare tied to a bat and hopes Batman will figure it out. He does. Then he stands at the top of some giant building and surveys the city. "We Built This City on Rock 'N' Roll" is totally stuck in his head. Bruce, apparently healed from falling down the well, is Batman again to stop Bane. JGL kneels down, hopefully to ask me to marry him. Yes, Joey, a million times yes! Catwoman is totally disillusioned at this point and says, "You don't owe these people anymore. You've given them everything." Batman replies, "Not everything." Oh s**t, Batman is totally going to die.
Bane and Batman have a big fat fight back at the waterfall. Batman also prevents Bane and his people (who are having an epic clash with the police) from taking over the bank or whatever. This is where things get fuzzy and my clairvoyance doesn't have as much power. It seems like Catwoman is helping Batman to defeat Bane and has been taking martial arts classes at the Y and totally learned how to do a roundhouse kick. She even gets into some crazy flying car thing with Batman and shoots some bombs at Bane and his gang. I'm gonna guess the shooting at the bank comes before the Bane vs. Batman fight at the waterfall well and that Batman and Bane both die so that Gotham can be saved and economic balance can be restored.
There you go. Now you know everything that's going to happen. (No, you don't.) I don't know about you, but now I'm even more excited to see the movie now.
Follow Brian Moylan on Twitter @BrianJMoylan
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The lines between The Dark Knight Rises and the real world have been blurred for quite some time. After it was leaked that Christopher Nolan wanted to mesh the devastation of Gotham City with the Occupy Wall Street protests at Zuccotti Park, it became hard to tell our reality from that in Nolan's Batman universe, making our own reality infinitely more interesting. Contributing to further confusion (and reality improvement) is this new viral campaign courtesy of The Dark Knight Rises website.
Below, you can see the police files on the masked vigilante known to Gothamists as The Batman, including a warrant to arrest, a wanted article, and a letter written by Deputy Commissioner Peter Foley regarding the investigation of the Batman case. Peruse the documents below, and be sure to call GCPD with any information if you see a looming stranger with a grappling hook, Will Arnett-ian vocal patterns, and a penchant for misunderstood crime fighting.
The Dark Knight Rises stars Christian Bale, Anne Hathaway, Tom Hardy, Joseph Gordon-Levitt, Gary Oldman, Michael Caine, Marion Cotillard, Morgan Freeman and Juno Temple. The eagerly anticipated film hits theaters on July 20.
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[The Dark Knight Rises]

The British actor, who plays police commissioner James Gordon, has been banned from leaking any plot details ahead of the release of The Dark Knight Rises this summer (12).
Oldman recently revealed he suffered a nasty scare when he thought he had lost his script, which contains director Christopher Nolan's closely-guarded plot, but he eventually found it under the mattress in his hotel room.
The incident has made Oldman so paranoid about misplacing his scripts, he's taking extra security measures and locking them up at home for safekeeping.
He tells Britain's Daily Star On Sunday, "I daren't travel with my Batman scripts in case I lose them. I have to just make copies of the scene I'm learning that day.
"I keep all the scripts in a very safe place - they'd kill me if I lost one. I'd never take them on a train or anything like that. It's all pretty top secret.
"They code each script and put your name on it so if I ever can't find one I do panic. We really are sworn to absolute secrecy until the film comes out."